In episode four of KIND REGRETS, TILT sits down for a long conversation about his history in graffiti, his obsession with throw-ups and the story behind his new book, Never Ending Story, published with The Grifters.

TILT – Never Ending Story is available now in the Unfade shop.

TILT started writing in Toulouse in the late 1980s, coming into graffiti through skateboarding and the small local scene around him. In the interview, he talks about discovering graffiti through skate videos, meeting older writers in Toulouse and gradually moving from tags and pieces toward the throw-up that would eventually become the centre of his practice.

For TILT, the attraction of the throw-up is closely connected to speed, repetition and freedom. He describes it as something between tagging and piecing: fast enough to keep the spontaneous movement of a tag, but substantial enough to develop its own recognisable visual identity. His first version of the TILT throw-up that resembles what he still paints today came after a trip to New York in 1994, where he saw how strongly throw-ups functioned as a style in their own right.

Repetition quickly became part of the process. In 1997, TILT set himself the goal of painting 365 throw-ups during the year. Rather than constantly reinventing the letters, the same basic form could be repeated again and again, slowly changing through movement, location and small adjustments.

The story behind Never Ending Story

The idea for Never Ending Story began during the COVID lockdown in 2020. With unusually empty streets, TILT decided to revisit his old challenge, this time aiming for roughly two throw-ups a day. By the end of the project he had painted 667 of them.

When restrictions ended, something else started happening. Municipal workers returned and many of the throw-ups were quickly buffed. TILT began photographing not only the original graffiti but also what happened afterwards: partially removed letters, blocks of buff paint, shadows, fragments and traces left on the surface.

That changed the direction of the book. Instead of simply becoming an archive of hundreds of TILT throw-ups, Never Ending Story developed into a book about repetition and the complete life cycle of graffiti — painting, removal, traces and painting again.

The title comes directly from that cycle. TILT describes the structure as a loop: the book moves gradually from complete throw-ups into buffed surfaces and traces before returning to graffiti again. Birth, death and rebirth repeat through the sequence, just as they do on the street.

This approach also connects the book to TILT’s studio work. For years, part of that work has focused on the marks produced when graffiti and buffing meet — layers of paint, covered letters, textures and accidental compositions created through attempts to remove graffiti.

Never Ending Story gives that process its own photographic form.

More than an archive

The book took more than three years to develop. Alongside the photographs, it includes writing examining repetition and buffing, as well as a foreword by legendary graffiti photographer Henry Chalfant.

TILT also wanted to include the writers he has shared walls and sessions with. A separate 48-page colour section is dedicated to collaborations, reflecting another important part of his approach to throw-ups: travelling, meeting local writers and painting together.

At 440 pages, Never Ending Story is not simply a chronological collection of graffiti photographs. The sequencing, repetition, buffed surfaces and return of the throw-up are what form the book itself.

The KIND REGRETS interview gives useful context to all of this. It goes back through TILT’s beginnings in Toulouse, the influence of New York, his relationship with repetition, the connection between his street and studio work, and finally the process that turned years of painting into Never Ending Story. The book is the main focus, but the conversation also explains why the same apparently simple throw-up has remained so important to TILT for decades.

Buy TILT – Never Ending Story at Unfade

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This Video showcases 52 Writers from around the world. With Highlights of Present and Upcoming Upper Hand videos. South America Countries include Brazil, Argentina, Peru, Chile and Mexico. Southeast Asia Countries include Vietnam, Thailand and Philippines. Hong Kong as well.

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Trains and subways in Berlin passing by, check it out!

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Directed by Charlotte Levin and Ava Newman, Being Seen Makes Us Happy brings together graffiti writers Lex, Lola, Jakee and Claw for a conversation about graffiti, identity, recognition and what it means to take up space.

The film looks beyond the finished tags and pieces and focuses on the reasons people keep writing. Lex describes graffiti as the first thing that made her feel like she had real power. For her, it was less about making perfectly clean graffiti and more about doing something for herself and creating a presence in a world where she often felt she had little control.

That need to be seen runs throughout the documentary. The writers talk about putting their names into the city, finding spots where their work will have the most impact and creating something that people cannot easily ignore. Graffiti becomes a way of saying that you are here, even when other parts of life make you feel invisible.

The film also looks at graffiti from a female perspective. One of the central ideas is that women are often told how they should act, where they belong and how much space they are allowed to take up. Graffiti does the opposite: it is literally about taking space. The writers discuss how seeing women represented in graffiti can mean something beyond the individual name on the wall.

Being Seen Makes Us Happy does not avoid the harder parts of the culture either. There are conversations about beef, going over other people’s work, arrests and the risks that come with repeatedly painting illegally. The film also questions the idea of graffiti fame. Recognition can be validating, especially for someone who previously felt overlooked, but it can also become complicated when attention and identity become tied too closely to getting up.

That relationship with graffiti changes over time. The writers reflect on what years of painting have given them, but also what it has taken from them. One speaker talks about incarceration in Australia and how the stress, loss and drama surrounding graffiti made her question the person she had become. The film asks whether the constant need to risk freedom, work and relationships can sometimes point to something deeper that is missing elsewhere in life.

Claw also talks about how graffiti eventually became connected to her work outside the street. What began with painting and making shirts developed into Claw Money, with the city itself becoming part of the brand’s visual language and advertising.

Toward the end, the documentary becomes more reflective. There is still a deep love for graffiti, but also an acceptance that it does not have to remain the most important thing forever. At the same time, the writers speak about being proud to be part of graffiti culture, especially the heritage and lineage of women who continue to add to its history.

Being Seen Makes Us Happy is ultimately about much more than writing a name on a wall. It is about visibility, confidence, belonging, risk and the different reasons people need to leave a mark.

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5 minutes of train spotting in north Germany.

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This is 15-minute video report from Batumi, Georgia. Amet and Saek bоmb the city streets by tags and throw-ups.

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Postcard sent in by Mikro (LMD Crew) showing 7 minutes of train actions in London, Rotterdam and more.

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GET LOST Episode 1 follows a three-day trip through San Francisco built around a simple challenge: sleep outside, carry everything in one bag, and paint 10 spots around the city. No hotels, hostels or couches — just a backpack with sleeping gear, paint, camera equipment and clothes.

The trip starts with a heavy backpack and quickly turns into a mix of skating, exploring and looking for places to paint. Along the way, he moves through bridges, bike paths, abandoned industrial areas and forgotten railway sites, often ending up far away from the usual parts of San Francisco most visitors see.

Finding somewhere to sleep becomes part of the adventure. An abandoned building looks promising at first, but he eventually leaves and spends the night beside a deserted bike path after painting nearby. The next morning starts with a German Shepherd standing over him.

By the second day, the trip gets rougher. Miles of walking through industrial areas with little food or water leave him exhausted, while tall grass brings another problem: ticks. After waking up with one attached to his chest, he considers ending the trip but decides to keep moving across the city toward the Pacific Ocean.

The final stretch brings another setback when a high-speed skateboard crash damages his camera and leaves him scraped up just before reaching the coast.

GET LOST Episode 1 is part graffiti video, part travel diary and part stealth-camping experiment — a look at San Francisco through skating, painting and exploring places well outside the normal tourist route.

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RICHIE from Sweden trying out the Montana Black 400ml spray paint. In this six minutes video you can see the result. We hope you will enjoy it and don’t forget to subscribe!

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Follow graffiti writer Alwet out in the streets of Chicago painting highway spots and catching throw-ups across the city.

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